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  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
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  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
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  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Proposal Abstract

This paper will explore a mode of printmaking that draws on encounters with objects, described as human, non-human, natural, cultural, real or fictional (Harman, 2018) through an experimental process in which ‘technical’ proficiency loses it primacy to techne as a mode of knowing (Heidegger, 1971).

In an encounter with objects—eg. nocturnal wildlife, a garden, paper, ink, rain, a sequence of moments and you the reader—the effects of intention and accident become equal objects. The process, despite the care and consideration given to the objects by the artist, could be considered as crude and chaotic in its methodology. However, it purposefully allows for incidents of accident, opening opportunities for the unexpected and the unknown to occur. Flaws are embraced for the honesty and uncanny beauty of natural processes they can disclose. Work that facilitates mistakes crosses the boundary between technical control and the unknown. On such occasions, ‘A mistake becomes an act of rebellion against the status quo’ (Weiss, 2016).

Such a celebration of accident, mistake and flaw in printmaking is an established tradition following Cameron’s photographs (1860s), Duchamp’s ‘canned chance’ (1914) and Rauschenberg’s ‘Accident’ (1963). The work presented in this paper focuses on valuing objects resulting from transgressing boundaries between the intentional and unintentional facilitating occasions for chance within print.

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Academic Paper

Accidental Objects in Printmaking

Lucia Cunningham
Academic, Artist, Student
Birmingham City University

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